Fairy tail genre

Fairy Tail (TV Series 2009–2019)

• Cast & crew
• User reviews
• Trivia

IMDbPro

Original title: Fairy Tail: Fearî teiru

• TV Series
• 2009–20192009–2019
• TV-14TV-14
• 24m

IMDb RATING

7.9/10

25K

YOUR RATING

POPULARITY

Play trailer1

:

11

9 Videos

99+ Photos

AnimationActionAdventure

Lucy, an aspiring Celestial Wizard, becomes a friend and ally to powerful wizards Natsu, Gray, and Erza, who are part of the (in)famous wizard guild, Fairy Tail.Lucy, an aspiring Celestial Wizard, becomes a friend and ally to powerful wizards Natsu, Gray, and Erza, who are part of the (in)famous wizard guild, Fairy Tail. Lucy, an aspiring Celestial Wizard, becomes a friend and ally to powerful wizards Natsu, Gray, and Erza, who are part of the (in)famous wizard guild, Fairy Tail.

IMDb RATING

7.9/10

25K

YOUR RATING

POPULARITY

• • Hiro Mashima
  • Masashi Sogo(screenplay)
• Stars
  • Cherami Leigh
  • Todd Haberkorn
  • Tia Lynn Ballard

• • Hiro Mashima
  • Masashi Sogo(screenplay)
• Stars
  • Cherami Leigh
  • Todd Haberkorn
  • Tia Lynn Ballard

• 131User reviews
• 16Critic reviews

• Awards
  • 4 wins & 9 nominations

Episodes339

Browse episodes

TopTop-rated

8 seasons

87654321See all

10 years

2019201820162015201420132012201120102009See all

Videos9

Trailer 1:11

Watch Fairy Tail: Part 10

Trailer 1:08

Watch Fairy Tail: Part 6

Trailer 0:55

Watch Fairy Tail: Collection Two

Trailer 1:09

Watch Fairy Tail: Collection One

Trailer 0:39

Watch Fairy Tail: Part 4

Trailer 0:39

Watch Fairy Tail: Part 3

Trailer 0:40

Watch Fairy Tail: Part 2

Trailer 1:09

Watch Fairy Tail: Part 1

Trailer 1:15

Watch Fairy Tale (Australian Trailer)

Photos387

Top cast

Cherami Leigh

• Lucy Heartfilia…

Todd Haberkorn

• Natsu Dragneel…

Tia Lynn Ballard

Tetsuya Kakihara

• Natsu Dragneel

Colleen Clinkenbeard

• Erza Scarlet…

Newton Pittman

• Gray Fullbuster…

Brittney Karbowski

• Wendy Marvell…

Aya Hirano

• Lucy Heartfillia…

Rie Kugimiya

Jad Saxton

• Carla…

Monica Rial

• Mirajane Strauss…

Brina Palencia

• Juvia…

R. Bruce Elliott

• Makarov…

David Wald

• Gajeel…

Kristi Kang

• Levy McGarden…

Christopher Sabat

• Elfman Strauss…

Tyler Walker

• Additional Voices…

Jamie Marchi

• Cana Alberona…

• • Hiro Mashima
  • Masashi Sogo(screenplay)
• All cast & crew
• Production, box office & more at IMDbPro

More like this

The Seven Deadly Sins

Sword Art Online

Black Clover

Fairy Tail: Dragon Cry

Fairy Tail: Priestess of the Phoenix

Bleach

Akame ga Kill!

My Hero Academia

That Time I Got Reincarnated as a Slime

Assassination Classroom

Tokyo Ghoul

Dr. Stone

Storyline

Did you know

User reviews131

Review

Featured review

teenage epic anime, still entertaining at 250+ episodes

In the Manga/ Anime industry, the three biggest franchises are Bleach, Naruto, and One Piece. They are know as the 'big three'. If there were a 'big four' the fourth would probably be Fairy Tail, an equally long running series of epic battles, juicy laughs, and exceptional art and design.

Fairy Tale is set in a world resembling the southern European Renaissance in all it's architectural glory, but the people dress as if they come from every corner of the world. There are times when the show looks like a giant cosplay convention. Fairy tale it self is the name of the wizards guild whose members are the principle cast of the story.

The first season is told mostly from the point of view of Fairytail's newest addition. Lucy Heartfilia is a seventeen year old, peppy and ambitious. She has run away from home (and her snobby father with his snobby estate) to follow her drew of being a wizard. Her magic specialty is summoning celestial spirits of the zodiac; All of whom are contemporary comic book versions of their mythological counterparts. Sagitarious for example is a man in a horse costume.

As the seasons go on, The members of fairy tail endure various quests or expeditions, and must face of against many foes, including other wizard guilds. The recurring gimmick is that each season ends with an enemy becoming a friend and joining Fairy Tail, so the cast gets bigger and bigger, but it retains a focus on the select few that were there to begin with.

Perhaps the main difference between this series and the 'big three' is that Fairy Tail is not a show with overarching narrative direction. It is not a story about a protagonist on a journey to achieve an ultimate title. Lucy achieves her goal in episode one and from there she goes where the show takes her. The character of Natsu who brings her into Fairy Tail, is the one who is marketed and recognized as the protagonist because he fits the criteria of the young boys (shounen) genre to which Fairy Tail (and the big 3) belong.

Natsu represents, physical strength, juvenile Bliss, a big appetite, and the themes of comradely. Like Luffy and the younger Naruto, Natsu is just a really big kid. He is a lot of fun, but unlike Lucy, we don't get a good look into his heart. The show just asks us to accept that he has one by giving him monologues of phony sincerity and insight which his character type is too immature to be capable of summoning. He does have a personal quest however, which is to find this 'foster father', the dragon known as Igneel who raised him as a child and gave him his fire magic, and there is a touching episode in the most recent season where this pays off. Yet the emotional impact is still underwhelming because Natsu's motive is never really part of the character, it is merely a side note. This makes him a harder character to invest in as a protagonist than say Luffy of One Piece or Naruto Uzumaki.

Fairy Tale's show stealer, is one of the best manga/anime characters to date. Erza Scarlett, is the queen of Fairy Tale Wizards. Her personalty and powers are as attractive as her name is repulsive. Erza comes from a dark place, having escaped child slavery. Her magic is swordsmanship coupled which her dozen suits of armour which she can swap in and out of live a video game character. She has cunning and disciplined, and as a fighter she is dazzling to watch. Yet she is also amusing because she shares the same soft soft for spas, cake and pretty dresses as the next girl, while maintaining her conservative appearance.

Dramatically, Fairy Tail is a hit and miss show. There are times when it flat out fails through the classic mistake of telling and not showing what the characters feel. Every now and then it does surprise you in it's ability to channel thoughtful emotion but realistic human emotions are few and far between in the show, and the scenes that should be intimate turn usually turn out rather more bombastic. What it is missing most is the feeling mystique that can absorb you completely into the anime world. It needs more quiet scenes and fewer loud ones.

Fairy Tail succeeds most on the grounds of action comedy. Interwieving slapstick comedy with visually intoxicating scenes of action and peril, and a strong, celtic-tinted score Fairy Tail manages to build momentum from season to season. I would have preferred less dialog during the action scenes, but such a thing is inevitable in manga/anime. Even when the writing slow the show down, the picture keeps it moving.

helpful•7

1

• Samiam3
• May 31, 2017

Details

• Release date
  • September 30, 2011 (United States)
• • Fan site
  • Official site (Japan)
• • Japanese
• Also known as
  • Fairy Tail Zero
• Production companies
  • Pony Canyon
  • A-1 Pictures
  • Bridge
• See more company credits at IMDbPro

Technical specs

• 24 minutes

• • 1. 85 : 1

Related news

Contribute to this page

Suggest an edit or add missing content

More to explore

Recently viewed

You have no recently viewed pages

Fairy Tail TV Review | Common Sense Media

A Lot or a Little?

The parents' guide to what's in this TV show.

What Parents Need to Know

Parents need to know that Fairy Tail is a violent anime series with sexy content that's not for younger kids. Not only is main character Lucy impossibly buxom, she's also savvy enough to use her physical attributes to get what she wants (attention, a better sale price on a store item, etc.) from men. She's also obsessed with popularity, envious of those who have it, and fascinated by what society tells her is "cool," which leaves her vulnerable to potentially dangerous situations. She does eventually prove that there's more to her than just a pretty face, thanks to a positive new friendship and the chance to sharpen her skills. A main character is known for taking off his clothes at whim, showing a bare torso and the side of his butt, but sensitive areas are obscured. Animation takes the edge off the excessive clashes, but violence is often a means to an end; you'll see a lot of it, even between friendly characters. On the upside, positive qualities like loyalty and perseverance are rewarded, while self-serving and arrogant characters stand out in a negative way.

Community Reviews

moondrip22 Adult

November 10, 2022

age 10+

I love the show I have started watching it after just finishing it. It shows true friendship team work.

This title has:

Great role models

AnimeGirl1999 Adult

October 6, 2022

age 11+

I have been watching Fairy Tail for a long time now and though I am not a parent myself, I have younger siblings. I think Fairy Tail is about 11+ but I would deffently say it's down to the parents discretion due to the references of drinking, sexualised charaters and fight scenes. Female charaters are shown to have big breasts and panties are shown from time to time.

This title has:

Educational value

Great messages

Great role models

Too much drinking/drugs/smoking

What's the Story?

FAIRY TAIL is an anime series about a teen named Lucy (voiced by Cherami Leigh) who runs away with her new friend, Natsu (Todd Haberkorn), to join the well-known wizards guild, Fairy Tail. Natsu is a powerful wizard endowed with rare fire magic who's on a quest to find his foster parent, a dragon named Igneel who disappeared years ago. Lucy's powers are celestial, allowing her to summon spirits to help her in times of need. Together with Natsu's cat, Happy (Tia Ballard), the two face one adventure after another, battling evil wizards and attacks from new foes at every turn.

Is It Any Good?

Fairy Tail appeals to anime fans, thanks to a plot that's layered with curious characters, legends, and a story that evolves at a believable pace rather than all at once. It's more complex than most, and the characters run the gamut of personality styles, which helps keep things interesting. Both Lucy and Natsu have positive qualities that make them decent protagonists as well.

But what the show has an excess of is content that's not suited to the kids who typically seek out anime series. Violence is the norm in this genre, but Fairy Tail's is even more prevalent than its peers'. Even more noticeable is the show's rather questionable portrayal of women, whose physical attributes (busty chests, thin frames, and accentuated curves) get more attention than their abilities do, and who often have less upstanding characteristics (apparent alcoholism and a bad case of popularity envy, to name a couple) than do their male counterparts. The bottom line? Its story is well developed and will keep viewers' interest, but the mature content is better suited to teens than to kids.

Talk to Your Kids About ...

• Families can talk about social situations and fitting in. What does it feel like to be the newcomer to a group? Do your tweens have an easy time warming up to new people?

• What does peer pressure feel like? To what extent does it change how you feel about yourself? Have you ever make adjustments to your appearance or your personality because of how you want others to see you?

• What messages does this series send about body image, to girls in particular? What other shows have you seen with similar tones? Do you think the media perpetuates negative impressions about self-image and good health?

TV Details

• Premiere date: November 22, 2011
• Cast: Cherami Leigh, Todd Haberkorn, Tia Ballard
• Network: Online
• Genre: Kids' Animation
• Topics: Magic and Fantasy, Monsters, Ghosts, and Vampires
• TV rating: NR
• Last updated: October 6, 2022

Fairy tale as a literary genre - Virtual Museum of literary genres written and oral folk art: a prosaic oral story about fictional events in the folklore of different peoples

2) Literary tale - epic Genre: Fiction-oriented work closely related to folk a fairy tale, but, unlike it, belonging to a specific author, not existed prior to oral publication and unvaried ^[2] . Literary tale either imitates folklore ( literary tale, written in folk poetic style ), or creates a didactic work (see didactic literature) based on non-folklore stories. folk tale historically precedes the literary one.

Fairy tale is based on a complex composition, which has exposure start, development plot, climax and denouement (see also Conflict (literary criticism).

The plot of a fairy tale is based on a story about overcoming a loss or lack, by miraculous means, or magical helpers. Fairy tales are consistently present in the exposition 2 generations - older (king with queen, etc.) and younger - Ivan with brothers or sisters. Also in the exposition there is an absence of the elder generations. An enhanced form of absence is the death of parents. The plot of a fairy tale consists in the fact that the main character or heroine discovers a loss or shortage or here there are motives for the prohibition, violation of the prohibition and the subsequent trouble. Here the beginning of counteraction, that is, the sending of the hero from home.

The development of the plot is the search for the lost or missing.

The climax of the fairy tale is that the protagonist or heroine is fighting against the opposing force and always defeat it (the battle equivalent is solving difficult problems that are always unraveled).

Decoupling is overcoming a loss, or shortages. Usually the hero (heroine) at the end "reigns" - that is, acquires a higher social status than he had at the beginning.

Wikipedia

(Dictionary of literary terms) Fairy tale is the oldest genre of oral folk poetry creativity, epic, mostly prose, a work of magic, adventurous or domestic character. Like all folk art, a fairy tale deeply national, but at the same time, most fairy tales are found many peoples of the world. If you pick up words with the same root for the word fairy tale, then in As a result, a series of words will appear, revealing its meaning to a certain extent: fairy tale - to tell - to tell. In essence, a fairy tale is what is told, oral story about something interesting for both the performer and the listener, despite the fact that she is always oriented towards fiction, whether it be moralizing stories about animals, fairy tales, adventurous stories, satirical jokes. Ignorance of fairy tales, as one of the essential shortcomings education, regarded A.S. Pushkin: I listen to fairy tales - and reward those shortcomings of his damned upbringing. What a delight these stories are! each there is a poem!

Fairy tale | this is... What is a Fairy Tale?

This term has other meanings, see Fairy tale (meanings).

Thumb boy and Giant. Illustration from 1865.

Fairy tale - genre of literary creativity:

1. Folk tale - epic genre of written and oral folk art: a prose oral story about fictitious events in the folklore of different peoples ^[1] . A type of narrative, mostly prose folklore ( fairy-tale prose ), which includes works of various genres, the texts of which are based on fiction. Fairytale folklore opposes "reliable" folklore narrative ( non-fairytale prose ) (see myth, epic, historical song, spiritual poetry, legend, demonological stories, tale, legend, bylichka).

2. Literary fairy tale — epic genre: fiction-oriented work, closely related to the folk tale, but, in contrast to it, belonging to a specific author, which did not exist before publication in oral form and did not have variants ^[2] . A literary fairy tale either imitates a folklore one ( literary fairy tale written in the folk poetic style ) or creates a didactic work (see didactic literature) based on non-folklore plots. The folk tale historically precedes the literary one.

The word " fairy tale " is attested in written sources no earlier than the 17th century. From the word " say " ^[3] . It mattered: a list, a list, an exact description. It acquires modern significance from the 17th-19th centuries. Previously, the word fable was used, until the 11th century - blasphemer ^{[ source unspecified 1295 days ]} .

The word "fairy tale" suggests that they learn about it, "what it is" and find out "for what" it, a fairy tale, is needed. A fairy tale with a purpose is needed for the subconscious or conscious teaching of a child in the family the rules and purpose of life, the need to protect their "area" and a worthy attitude towards other communities. It is noteworthy that both the saga and the fairy tale carry a colossal informational component, passed down from generation to generation, faith in which is based on respect for one's ancestors.

Folk tale

V. M. Vasnetsov "Princess Nesmeyana".

Folklore fairy tale based on a traditional plot belongs to prose folklore (fairy tale prose). The myth, having lost its functions, has become a fairy tale. Initially, the fairy tale, separated from the myth, opposed the myth as:

1. Profane — Sacred . The myth is connected with the ritual, therefore the myth, at a certain time and in a certain place, reveals secret knowledge to the initiates;
2. Non-strict certainty — Strong certainty . The departure of the fairy tale from the ethnographic nature of the myth led to the fact that the artistic side of the myth came to the fore in the fairy tale. The tale was "interested" in the fascination of the plot. The historicity (quasi-historicity) of the myth has become irrelevant for the fairy tale. The events of the fairy tale take place outside the geographic confinement within the framework of the fairy tale geography.

Folk tale has its own specific poetics, which was insisted on by A. I. Nikiforov and V. Ya. Propp.

• “Once upon a time…”, “In a certain kingdom, in a certain state…” — fabulous initials, beginnings;
• "Soon a fairy tale is told, but not soon the deed is done" - median formulas;
• “And I was there, drinking honey-beer, flowing down my mustache, but it didn’t get into my mouth”, “A fairy tale is a lie, but there is a hint in it, a lesson for good fellows”, - fairy tale ending, finale;

A folklore fairy tale meets three requirements of folklore existence (general folklore features):

1. Orality.
2. Collectivity.
3. Anonymity.

The plot of a folk tale, in contrast to the plot of a literary tale, exists in a variety of texts in which some degree of improvisation by the performer of fairy material is allowed. The texts of a folklore tale oppose each other in terms of the degree of similarity-dissimilarity as a variant-variation. In fairy tale science, the problem of avant-text is posed, the solution of which solves the question of the creative skill of the performer of fairy folklore, because he does not memorize the text of the fairy tale in its entirety, but generates the text in front of the audience, restoring the structural elements of the text - thematic (motives) and stylistic ("common places" , formulas, etc.). The narrator kept in his memory fairy tales in their entirety or in the form of plot units, the so-called. motive, and reproduced in the performed fairy tale. Fairy tale science listed all the discovered fairy tales, collecting them in compiled pointers . Some fairy-tale plots are found in one text (plot contamination). The narrator, to give an epic slowdown, used the technique of tripling the action in a fairy tale. In fairy tales, there is a constant search for a method for a complete description of the structure of the text f. With. For a convenient description of the text, researchers distinguish, in addition to the compositional-plot and stylistic levels of the text, also the ideological-thematic and figurative levels. In archaic times (the collapse of the primitive communal system) f. With. resembled a myth ( mythological tale or mythological tale ), however, even the late classic tale preserved relics of mythological consciousness. The task of folklore, as an interdisciplinary science, standing on the border of linguistics, literary criticism, ethnography, is to reveal these relics in the text.

Classification of a folk tale

A folk tale includes several genres (according to another classification, genre varieties of one fairy tale genre). In the science of fairy tales, there is a problem of classifying fairy tale genres. In the "Comparative Index of Plots: East Slavic Fairy Tale", created on the basis of Aarne's index, which systematizes the European, and then, in subsequent editions, Stit Thompson (Thompson Stith) (see Index of Folk Tale Plots), fairy tale of the peoples of the world, the following genres are presented fairy folklore:

1. Tales about animals, plants, inanimate nature and objects.
2. Fairy tales.
№
3. Legendary tales.
4. Short story (everyday) fairy tales.
5. Tales of the Fooled Devil.
6. Jokes.
7. Fables.
8. Cumulative tales.
№
9. Boring fairy tales.

Many folklorists (V. Ya. Propp, E. V. Pomerantseva, Yu. I. Yudin, T. V. Zueva) distinguish two genre varieties in the composition of the genre "Everyday fairy tales": novelistic and anecdotal fairy tales. Anecdotal tales include plots from the "Tales of the Fooled Devil" group, many plots classified as anecdotes, some plots included in the novelistic tales section, and some plots classified as fairy tales.

In narrative folklore, it is not always possible to draw a clear line between genres. So, a legendary fairy tale can combine the features of a fairy tale and a legend, and prosaic alterations of epics can be attributed to a special genre group “A heroic fairy tale”. A change in the attitude towards reality of folklore carriers changes the affiliation of the narrative to one or another folklore genre.

Genre varieties of the fairy tale

Fairy tale about animals

Fairy tale about animals (animal epos) is a collection (conglomerate) of different genres of fairy tale folklore (fairy tale), in which animals, birds, fish, as well as objects, plants and natural phenomena act as the main characters. In fairy tales about animals, a person either 1) plays a secondary role (the old man from the fairy tale “The Fox steals fish from the cart (sleigh”)), or 2) occupies a position equivalent to the animal (the man from the fairy tale “Old bread and salt is forgotten”).

Possible classification of the fairy tale about animals.

First of all, the animal tale is classified according to the main character (thematic classification). Such a classification is given in the index of fairy-tale plots of world folklore compiled by Aarne-Thompson and in the Comparative Index of Plots. East Slavic fairy tale»:

1. Wild animals.
   • Fox.
   • Other wild animals.
2. Wild and domestic animals
3. Man and wild animals.
4. Pets.
5. Birds and fish.
6. Other animals, objects, plants and natural phenomena.

The next possible classification of the fairy tale about animals is the structural-semantic classification, which classifies the fairy tale according to genre. There are several genres in the fairy tale about animals. V. Ya. Propp singled out such genres as:

1. Cumulative fairy tale about animals.
2. Magic fairy tale about animals
3. Fable (apologist)
4. Satirical tale

E. A. Kostyukhin singled out genres about animals as:

1. Comic (everyday) fairy tale about animals
2. Magic fairy tale about animals
3. Cumulative Animal Tale
4. Animal short story
5. Apologist (fable)
6. Joke.
7. A satirical tale about animals
8. Legends, stories, everyday stories about animals
9. Fables

Propp, in his classification of animal tales by genre, tried to put a formal sign. Kostyukhin, on the other hand, partly based his classification on a formal feature, but basically the researcher divides the genres of fairy tales about animals according to content. This allows a deeper understanding of the diverse material of the fairy tale about animals, which demonstrates the variety of structural constructions, the diversity of styles, and the richness of content.

The third possible classification of the animal tale is that of the target audience. Allocate fairy tales about animals to:

1. Children's fairy tales.
   • Fairy tales told for children.
   • Fairy tales told by children.
№
2. Adult fairy tales.

One or another genre of fairy tale about animals has its own target audience. The modern Russian fairy tale about animals mainly belongs to the children's audience. Thus, fairy tales told for children have a simplified structure. But there is a genre of fairy tale about animals that will never be addressed to children - this is the so-called. "Mischievous" ("cherished" or "pornographic") tale.

About twenty plots of animal tales are cumulative tales ( Recursive ). The principle of such a composition is the repeated repetition of a plot unit. Thompson, S., Bolte, J. and Polivka, I., Propp distinguished fairy tales with cumulative composition into a special group of fairy tales. Cumulative (chain-like) composition is distinguished:

1. With infinite repetition:
   • Boring tales like "About the White Bull".
   • The text unit is included in another text (“The priest had a dog”).
2. With End Repeat:
   • "Turnip" - plot units grow in a chain until the chain breaks.
   • "Cockerel choked" - the chain is untwisted until the chain breaks.
   • "For a rolling pin duck" - the previous unit of text is denied in the next episode.

Another genre form of the animal tale is the structure of a fairy tale (see below for the structure) (“The Wolf and the Seven Kids” SUS 123, “The Cat, the Rooster and the Fox” SUS 61 B).

The leading place in fairy tales about animals is occupied by comic tales - about the antics of animals ("A fox steals fish from a sleigh (from a wagon) SUS 1, "The Wolf at the Hole" SUS 2, "The fox smears his head with dough (sour cream) SUS 3," Beaten the unbeaten one is lucky" SUS 4, "The Midwife Fox" SUS 15, etc.), which influence other fabulous genres of the animal epic, especially the apologist (fable). The plot core of a comic fairy tale about animals is a chance meeting and a trick (deception, according to Propp). Sometimes several meetings and tricks are combined (contamination). The hero of the comic tale is trickster (one who does tricks). The main trickster of the Russian fairy tale is the fox (in the world epic, the hare). Its victims are usually a wolf and a bear. It has been noticed that if the fox acts against the weak, it loses, if against the strong, it wins (Dm. Moldavsky). It comes from archaic folklore. In the modern animal tale, the victory and defeat of the trickster often receives a moral assessment. The trickster in the tale is opposed to by the simpleton . It can be a predator (wolf, bear), and a person, and a simpleton animal, like a hare.

A significant part of fairy tales about animals is occupied by an apologist (fable), in which there is not a comic principle, but a moralizing, moralizing one. At the same time, the apologist does not have to have a moral in the form of an ending. Morality follows from the plot situations. Situations must be unambiguous in order to easily form moral conclusions. Typical examples of an apologist are fairy tales where contrasting characters collide (Who is more cowardly than a hare? AT 70; Old bread and salt is forgotten AT 155; A thorn in the paw of a bear (lion) AT 156. An apologist can also be considered such plots that were known in a literary fable from ancient times (Fox and sour grapes AT 59; Crow and Fox AT 57 and many others). The apologist is a comparatively late form of animal tales. Refers to the time when moral norms have already been determined and are looking for a suitable form for themselves. In fairy tales of this type, only a few plots with the tricksters' tricks were transformed, part of the plots of the apologist (not without the influence of literature) he worked out himself. The third way for the development of the apologist is the growth of paremia (proverbs and sayings. But unlike paremia, in the apologist the allegory is not only rational, but also sensitive.

Next to the apologist is the so-called novelistic tale about animals, highlighted by E. A. Kostyukhin. A short story in an animal tale is a story about unusual cases with a fairly developed intrigue, with sharp turns in the fate of the characters. The trend towards moralization determines the fate of the genre. It has a more definite morality than in the apologist, the comic beginning is muted, or completely removed. The mischief of the comic fairy tale about animals is replaced in the short story with a different content - entertaining. A classic example of a novelistic tale about animals is AT 160 "Grateful Beasts". Most of the plots of a folklore short story about animals are formed in literature, and then pass into folklore. The easy transition of these plots is due to the fact that the literary plots themselves are formed on a folklore basis.

Speaking of satire in fairy tales about animals, it must be said that literature once gave impetus to the development of satirical fairy tales. The condition for the appearance of a satirical tale occurs in the late Middle Ages. The satirical effect in a folk tale is achieved by putting social terminology into the mouths of animals (Confessor Fox AT 61 A; Cat and Wild Animals AT 103). The plot of AT 254 ** "Ruff Ershovich", which is a fairy tale of book origin, stands apart. Having appeared late in a folk tale, satire did not gain a foothold in it, since social terminology can easily be removed from a satirical tale. So in the 19th century, a satirical tale is unpopular. The satire within the animal tale is only an accent in a very small group of animal stories. And the laws of the animal fairy tale with trickster tricks influenced the satirical tale. The satirical sound was preserved in fairy tales, where the trickster was in the center, and where there was a complete absurdity of what was happening, then the fairy tale became a fiction.

Fairy tale

V. M. Vasnetsov "The Frog Princess". 1918.

Fairy tale is based on a complex composition, which has an exposition, plot, plot development, climax and denouement (see also Conflict (literary criticism). According to Propp, it comes from the rite of initiation.

Gorokhova E. horse 1979

The plot of a fairy tale is based on a story about overcoming a loss or shortage with the help of miraculous means or magical helpers. with brothers or sisters. Also in the exposition there is an absence of the older generation. An enhanced form of absence is the death of parents. The plot of the tale is that the main character or heroine discovers a loss or shortage, or there are motives for a ban, a violation of the ban and a subsequent disaster. Here begins counteraction, i.e. sending the hero out of the house.0011

The development of the plot is the search for what is lost or missing.

The climax of the fairy tale is that the protagonist or heroine fights an opposing force and always defeats it (the battle equivalent is solving difficult problems that are always solved).

Decoupling is overcoming a loss or lack. Usually the hero (heroine) at the end "reigns" - that is, acquires a higher social status than he had at the beginning.

V. Ya. Propp reveals the monotony of a fairy tale at the plot level in a purely syntagmatic way. It reveals the invariance of a set of functions (the actions of actors), the linear sequence of these functions, as well as a set of roles distributed in a certain way between specific characters and correlated with functions. Functions are distributed among seven characters:

• antagonist (pest),
• donor
• Assistant
• princess or her father
• sender
• hero
• false hero.

Propp creates the so-called. metascheme of a fairy tale, consisting of 31 functions. Meletinsky E. M., continuing Propp’s research on the genre definition of a fairy tale, combines Propp’s fairy tale functions into large structure-forming units in order to more accurately give a genre definition of a fairy tale. The scientist says that a fairy tale is characterized by such common units presented in all fairy tale texts as ελ .. . EL, where the Greek letters are the test of the hero of the fairy tale by the donor and the reward of the hero (Baba Yaga gives Ivan Tsarevich a magic ball for that he behaved correctly). The Latin letters, in the Meletinsky formula, denote the battle over the antagonist and the victory over him (in the role of the antagonist, Koshchei the Immortal, the Serpent Gorynych acts in the fairy tale). Victory over the antagonist is unthinkable without the help of a magical remedy previously received from the donor. Meletinsky proposes to distinguish not only the genre of a fairy tale, but also to distinguish between its genre types, introducing additional units to determine the genre types of a fairy tale:

• presence/absence of an object of struggle independent of the hero (O — O)
• obtaining a marriage partner and a miraculous item (O ₁ - O ₂ )
• obtaining an object by the hero for himself or for the king, father, family, his community (S - S_)
• familial factor of the main collision (F — F)
• revealing a fairy tale with a distinctly mythological coloring of the demonic world hostile to the hero (M - M).

Thanks to these units, five groups of fairy tales can be distinguished:

• 1. O ₁ SˉFˉM — heroic tales, snake fighting type (AT 300-301).
     • O ₂ SˉFˉM — heroic tales of the quest type (AT 550-551).
  2. OˉSFˉM - archaic tales of the type "children at the cannibal" (AT 311, 312, 314, 327).
     • B ₁ DˉSM - tales of family persecuted, given into the power of forest demons (AT 480, 709).
     • OˉSFMˉ - tales of family persecuted without mythical elements (AT 510, 511).
  3. O ₁ SFˉM - fairy tales about wonderful spouses (AT 400, 425, etc.).
     • O ₂ SFˉMˉ - tales of miraculous objects (AT 560, 563, 566, 569, 736).
  4. O ₁ SFˉMˉ- fairy tales about wedding trials (AT 530, 570, 575, 577, 580, 610, 621, 675).
  5. O ₁ SˉFˉMˉ — (AT 408, 653).
     • O ₂ SˉFˉMˉ — (AT 665).

Using the above classification of types of fairy tales, we must keep in mind that many fairy tales have the so-called. the second moves (ups and downs), which is expressed in the fact that the main character of the tale briefly loses the object of his desire.

Meletinsky, singling out five groups of fairy tales, tries to solve the problem of the historical development of the genre in general, and plots in particular. The built-up scheme O - Oˉ, M - Mˉ, F - Fˉ, S - Sˉ, in many respects corresponds to the general line of development from myth to fairy tale: demythologization of the main collision and highlighting the family principle, narrowing of collectivism, development of interest in personal destiny and compensation socially disadvantaged. All stages of this development are present in a fairy tale. The tale contains some motifs characteristic of totemic myths. The mythological origin of the universally widespread fairy tale about marriage with a wonderful “totem” creature, who temporarily cast off an animal shell and assumed a human form, is quite obvious (“Husband is looking for a disappeared or kidnapped wife (wife is looking for a husband)” SUS 400, “The Frog Princess” 402, “ Scarlet Flower” 425 °C, etc. ). A fairy tale about visiting other worlds to free the captives who are there (“Three Underground Kingdoms” SUS 301 A, B, etc.). Popular tales about a group of children who fall into the power of an evil spirit, a monster, a cannibal and are saved thanks to the resourcefulness of one of them ("The Witch's Thumb Boy" SUS 327 B, etc.), or about the murder of a mighty serpent - a chthonic demon (" Snake Winner SUS 300 ₁ etc.). In a fairy tale, a family theme is actively developed (Cinderella SUS 510 A, etc.). For a fairy tale, a wedding becomes a symbol of compensation for the socially disadvantaged ("Sivka-Burka" SUS 530). The socially disadvantaged hero (younger brother, stepdaughter, fool) at the beginning of the tale, endowed with all the negative characteristics from his environment, is endowed with beauty and intelligence at the end (“Humpbacked Horse” SUS 531). The distinguished group of fairy tales about wedding trials draws attention to the story of personal destinies. The novelistic theme in a fairy tale is no less interesting than the heroic one. Propp classifies the genre of fairy tale by the presence in the main test of "Battle - Victory" or by the presence of "Hard problem - Solving a difficult problem". The household fairy tale became a logical development of a fairy tale.

Novelistic fairy tale

Novelistic fairy tale (or, social and household ) has the same composition as a fairy tale, but qualitatively differs from it. The fairy tale of this genre is firmly connected with reality, there is only one earthly world, and the features of everyday life are realistically conveyed, and the main character is trickster , an ordinary person from the people's environment, fighting for justice with those in power and achieving his own with the help of ingenuity, dexterity and tricks.

Anecdotal tale

Anecdotal tale distinguished by A.N.

Fiction

Fiction are fairy tales built on nonsense. They are small in volume and often have the form of rhythmic prose. Fables are a special genre of folklore that is found among all peoples as an independent work or as part of a fairy tale, buffoon, bylichka, bylina.

Collecting fairy tales

In Europe, the first collector of fairy-tale folklore was the French poet and literary critic Charles Perrault (1628-1703), who in 1697 published the collection Tales of Mother Goose. In 1704-1717, an abridged edition of the Arabian tales of the Thousand and One Nights, prepared by Antoine Galland for King Louis XIV, was published in Paris. However, the beginning of the systematic collection of fairy-tale folklore was laid by representatives of the German mythological school in folklore, primarily members of the circle of Heidelberg romantics, the Brothers Grimm. It was after they published the collection “Home and Family German Tales” in 1812-1814, which was sold in large circulation, that writers and scientists from other European countries showed interest in their native folklore. However, the Brothers Grimm had predecessors in Germany itself. For example, back in 1782-1786, the German writer Johann Karl August Museus (died in 1787) compiled a five-volume collection "Folk Tales of the Germans", but it was published only in 1811 by his friend the poet Wieland. In Russia, the Russian ethnographer Alexander Nikolaevich Afanasiev was the pioneer in collecting Russian folk tales. The collection "Russian Children's Tales" prepared by him was published in Moscow in 1870. A great contribution to the collection and organization of children's folklore was made by such personalities as Avdeeva, Dal. In the history of collecting children's folklore, the ethnographer-collector Shane also left a noticeable mark. He singled out children's folklore as a special field of science. The contribution to the popularization and collection of fairy tales was also made by the Ukrainian poet Malkovich. ^[4]

Origin (genesis) and development of fairy tales

Mythological fairy tale

Folklore fairy tales originate from the totemic myths of primitive communal society (primitive peoples of North Asia, America, Africa, Australia and Oceania). Primary, archaic tales are called archaic or mythological. The carriers of archaic folklore themselves distinguish them from the mythological narrative. Usually two forms are distinguished: pynyl and lymnyl - among the Chukchi, hwenoho and heho - at von (Benin), liliu and kukvanebu - at kirivna in Melanesia, etc. These two main forms correspond approximately to myth and fairy tale. The difference between them expresses the opposition of the sacred and the profane , the profane being often the result of deritualization of and the loss of the esoteric character. A structural difference was not necessarily between the two forms, it might not have existed at all. Very often, one and the same or similar text could be interpreted by one tribe as a real myth, and by another as a fairy tale narration excluded from the ritual-sacred system. One can define archaic tales as non-strict myths, given that they include mythological representations. F. Boas notes that the only difference between the archaic tale and the myth of the Indians of North America is that cultural hero produces benefits for himself, and not for the team. The non-strict authenticity of the archaic tale entails the predominance of the aesthetic function over the informative (the purpose of the archaic tale is entertainment). So the exoteric myth , told to the uninitiated for the purpose of general entertainment, is on the way of turning a myth into a fairy tale.